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I am inaugurating a series on Classics of Right-Wing Cinema with Martin Scorsese’s 1976 masterpiece Taxi Driver. For the purposes of this series, what makes a film “Right-wing” is its subject matter, its message, or simply how it resonates with people on the Right, regardless of the filmmaker’s intent. Please feel free to nominate films for this series in the comments below.
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It began with Dylann Roof. (more…)
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Greg Johnson and John Morgan reconvene our weekly podcast to discuss Martin Scorsese’s latest film, The Irishman.
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Martin Scorsese’s The Irishman is a return to well-trod ground – not just for the director, but for the actors concerned as well, not to mention Hollywood. It’s an organized crime story, the twist being that it has a political aspect to it as well. The cast is a veritable reunion of all the still-living actors who have played famous Italian-American mobsters in cinema or television over the past half-century: (more…)
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Taxi Driver is the defining film for every bastard child of our times. How many men today can relate to Travis Bickle (Robert De Niro), a fucked up, lonely loser trying to make rent and find love in a disgusting, criminal, and uncaring concrete hive? The guy is nuts, but who could blame him? Why would anybody be normal in the world he inhabits? His job is dumb, his apartment small, and his surroundings hostile. (more…)
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Note: Contains Spoilers
Audio Version: To listen in a player, click here. To download the mp3, right-click here and choose “save link as” or “save target as.”
One of the great things about Heath Ledger’s Joker in Christopher Nolan’s The Dark Knight is that he does not have an origin story. (more…)
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My favorite Martin Scorsese film is Gangs of New York (see my review here), but his follow-up film, The Aviator (2004), is a close second and rises in my estimation with each viewing. The Aviator is an epic depiction of the career of Howard Hughes, spanning the years 1927 to 1947, from the creation of his WWI flying epic Hell’s Angels to the successful test flight of the Hercules transport plane, dubbed by his enemies the “Spruce Goose.”
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Martin Scorsese’s Silence is a very fine film that seems to belong to an entirely different world. Imagine what American movies would be like if our film industry were not controlled by hostile and decadent aliens who have weaponized the medium against European man and culture. Silence is such a film. It is wholly untouched by political correctness and white guilt or self-abasement. Instead, Silence is the story of self-confident, expansionist whites battling non-white savagery.
Edward Hopper, New York Movie, 1939
Edward Hopper, New York Movie, 1939
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Looking over Trevor Lynch’s list of his “Ten Favorite Films” in his forthcoming collection, Son of Trevor Lynch’s White Nationalist Guide to the Movies, it occurred to me that I couldn’t possibly put together such a list, even if I could decide on a criterion or two.
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There Will Be Blood
I’m not an eager consumer of pop culture—rock music, television, video games, sports. My disinterest is natural, not something I work at. Pop culture just doesn’t “speak” to me. (more…)
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March 30, 2003
I finally saw Gangs of New York, and I wish that I had gone much sooner. Gangs is an absolutely magnificent movie, the best movie I have seen since The Two Towers. It is Martin Scorsese’s best movie — ever. (more…)
